Recent years have seen an enormous amount of philosophical research into the emotions and the imagination, but as yet little work has been done to connect the two. In his engaging and highly original new book, Adam Morton shows that all emotions require some form of imagination and goes on to fully explore the link between these two important concepts both within philosophy and in everyday life. We may take it for granted that complex emotions, such as hope and resentment, require a rich thinking and an engagement with the imagination, but Morton shows how more basic and responsive emotions such as fear and anger also require us to take account of possibilities and opportunities beyond the immediate situation. Interweaving a powerful tapestry of subtle argument with vivid detail, the book highlights that many emotions, more than we tend to suppose, require us to imagine a situation from a particular point of view and that this in itself can be the source of further emotional feeling. Morton goes on to demonstrate the important role that emotions play in our moral lives, throwing light on emotions such as self-respect, disapproval, and remorse, and the price we pay for having them. He explores the intricate nature of moral emotions and the challenges we face when integrating our thinking on morality and the emotions. This compelling and thought-provoking new book challenges many assumptions about the nature of emotion and imagination and will appeal to anyone seeking a deeper understanding of the role that these concepts play in our lives. The book also has far reaching implications that will spark debate amongst scholars and students for some time to come.

The emotions pose many philosophical questions. We don't choose them; they come over us spontaneously. Sometimes emotions seem to get it wrong: we experience wrongdoing but do not feel anger, feel fear but recognise there is no danger. Yet often we expect emotions to be reasonable, intelligible and appropriate responses to certain situations. How do we explain these apparent contradictions? Emotion, Imagination, and the Limits of Reason presents a bold new picture of the emotions that challenges prevailing philosophical orthodoxy. Talia Morag argues that too much emphasis has been placed on the "reasonableness" of emotions and far too little on two neglected areas: the imagination and the unconscious. She uses these to propose a new philosophical and psychoanalytic conception of the emotions that challenges the perceived rationality of emotions; views the emotions as fundamental to determining one's self-image; and bases therapy on the ability to "listen" to one’s emotional episode as it occurs. Emotion, Imagination, and the Limits of Reason is one of the first books to connect philosophical research on the emotions to psychoanalysis. It will be essential reading for those studying ethics, the emotions, moral psychology and philosophy of psychology as well as those interested in psychoanalysis.

An Early History of Compassion explores the role of the emotional imagination within the context of Roman imperialism.

The human imagination manifests in countless different forms. We imagine the possible and the impossible. How do we do this so effortlessly? Why did the capacity for imagination evolve and manifest with undeniably manifold complexity uniquely in human beings? This handbook reflects on such questions by collecting perspectives on imagination from leading experts. It showcases a rich and detailed analysis on how the imagination is understood across several disciplines of study, including anthropology, archaeology, medicine, neuroscience, psychology, philosophy, and the arts. An integrated theoretical-empirical-applied picture of the field is presented, which stands to inform researchers, students, and practitioners about the issues of relevance across the board when considering the imagination. With each chapter, the nature of human imagination is examined - what it entails, how it evolved, and why it singularly defines us as a species.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations. Imagination will remain a mystery--we will not be able to explain imagination--until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process--one with its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states--judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach.

Gerald C. Cupchik builds a bridge between science and the humanities, arguing that interactions between mind and body in everyday life are analogous to relations between subject matter and style in art. According to emotional phase theory, emotional reactions emerge in a 'perfect storm' whereby meaningful situations evoke bodily memories that unconsciously shape and unify the experience. Similarly, in expressionist or impressionist painting, an evocative visual style can spontaneously colour the experience and interpretation of subject matter. Three basic situational themes encompass complementary pairs of primary emotions: attachment (happiness - sadness), assertion (fear - anger), and absorption (interest - disgust). Action episodes, in which a person adapts to challenges or seeks to realize goals, benefit from energizing bodily responses which focus attention on the situation while providing feedback, in the form of pleasure or pain, regarding success or failure. In high representational paintings, style is transparent, making it easier to fluently identify subject matter.